By Dominic Symonds, Pamela Karantonis
The Legacy of Opera: analyzing song Theatre as event and Performance is the 1st quantity in a sequence of books compiled through the tune Theatre operating crew of the foreign Federation for Theatre examine. The sequence explores the widening of the which means of the time period "music theatre" to mirror new methods of puzzling over this artistic perform past the genres circumscribed via discourses of theatre reports and musicology. particularly it interrogates the adventure of song theatre and its functionality energies for modern audiences who interact with the emergence of recent expressive idioms, new performative paradigms, new applied sciences and new methods of considering. The Legacy of Opera considers a few of the ways that opera's effect has knowledgeable our knowing of and method of the musical degree, from the a number of views of the ideological, ancient, corporeal and creative. With contributions from foreign students in tune theatre, its chapters discover either canonic and experimental examples of song theatre, spanning a interval from the 17th century to the current day.
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Extra info for The Legacy of Opera: Reading Music Theatre as Experience and Performance
But the epigones of romantic opera today continue to offer metaphysical fictions of subjectivity based upon self-presence and wholeness, conveyed through the unchallenged lyric voice. As we have seen, in Wagner’s work, the expression of subjectivity lies at the core of music’s contribution to drama since music conveys authentic feelings (whether known or unknown to the dramatic character) which have otherwise been made “unintelligible to ourselves by State-politics or religious dogmas” (1995b: 264).
In summary, media operas bring into focus an often neglected element of the form: its terms and conditions of communication, or mediality. In addition, these works draw attention to many of our implicit preconceptions about what opera should look like, ideas that we usually take for granted. In particular, this includes the ongoing question of what the term “opera” actually means. We tend to take the historical forms and their mediality as more or less rigid templates for the evaluation of contemporary developments, although we live today in a world that favours modes of communication totally different from those of 200 or 300 years ago.
Thus, it seems to be appropriate to broaden the perspective of opera as an art form towards a notion of opera as a social and cultural practice. 34 Bianca Michaels OPERA AS A SOCIAL AND CULTURAL PRACTICE Some media operas such as Perfect Lives not only integrate audiovisual media on a conceptual level but also leave the theatre stage and its conditions of communication between actors, musicians and audience. In those works the mediality of the traditional theatre with its physical co-presence of performers and audience is replaced by the communication situation of—for example—television or cinema.